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The Wild Storm is a title that appears to be taking classic WildStorm characters, especially those from WildC.A.Ts, and rebooting them in a modern day, sophisticated world.

WildStorm was under the umbrella of Image Comics back in the 1990s when Jim Lee and other industry luminaries decided to start their own publishing house. Jim Lee’s characters were cool, but rather shallow and derivatives of DC and Marvel’s icons. Clearly, though, they had great potential as famed writers like Alan Moore and James Robinson took a crack at them.

In The Wild Storm, Warren Ellis, one of the absolute BEST science fiction writers alive today, takes the most charismatic elements of characters like Void, Voodoo, Grifter, Deathblow, Zealot, and Engineer and strips away all of the excess. All of these characters now exist within one book, one story line, and are under the control of one vision, who happens to be visionary.

I’m all in on this book. It is remarkably familiar yet utterly fresh. I know the characters, I know the names, but I don’t know what’s going to happen next. Ellis is always completely unpredictable and it’s obvious he’s building a comprehensive world in this title, not a super team.

Jon Davis-Hunt creates cinematic, dynamic panels in this book. Most of the characters are wearing regular clothes in normal environments, but he makes all of it look GREAT. He adds all of these little touches that strike the reader subconsciously but may not be obvious at first glance. Things like shells flying though the air, glass shattering, hair blowing in the wind, or debris falling — these minor things connote movement and lead the reader sequentially from one panel to the next. The art is so smooth and fluid. Perfect.

The Wild Storm is full of intrigue, action, violence, heroism, originality, and just enough nostalgia to charm. It’s obvious there is a sprawling, epic tale unfolding, and I can’t wait to see where it goes next.

I haven’t been this excited about a title in quite some time.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)

Master Race is the first Batman book I’ve read in quite a while that kept me turning the pages. When I had to put it down, I couldn’t wait to pick it back up.

Some say that The Dark Knight Returns helped to usher in the Dark Age of comics. It played a role in taking Batman back to his dark roots, establishing a general psychosis to the character, and promoting the idea that Batman and Superman would be anything but super friends. It’s impact can be felt even to this day.

The Dark Knight Strikes Again was just a hot mess. I haven’t read it in a long time, but I remember feeling that it had nothing in common with its predecessor and seemed intent on being as crazy as possible even at the sacrifice of plot, character, good taste, and logic.

Master Race takes the best aspects of both books, blends them together, and churns out an incredibly satisfying read. Carrie Kelley, the young girl who took on Robin’s mantle back in The Dark Knight Returns, is front and center in this book. The Dark Knight Strikes Again brought Superman’s daughter Lara into the fold, as well as Wonder Woman, the Flash, Green Lantern, Hawkboy and Hawkgirl, Atom–all of whom reappear in Master Race. This time, though, they are treated with depth and care. In fact, some would say they are all actually redeemed.

There’s that word again.

Master Race redeems every single character in its pages. They each go through a personal journey, and they each come out better for it. I don’t want to get into the particulars due to revealing too much plot, but this book made me look at these characters as heroes again. Redemption strikes me as a theme of the book.

Which is probably the most ironic thing ever.

Master Race also, in my eyes, redeems Frank Miller. Frank Miller is a gifted writer and artist–he proved that on books like The Dark Knight Returns, Daredevil, Batman: Year One, and the first Wolverine miniseries. Unfortunately, his work on The Dark Knight Strikes Again made me question both his talent and character. That book seemed like a total cash grab. It almost acted like it wanted to make a point to the reader–that the comic fan will buy anything if there’s enough hype surrounding it. It definitely turned me off from Miller for a while.

So why did I return for Master Race? Brian Azzarello. I’ll read anything that man writes. I knew that if he played a hand in Master Race, it would be worth my time to check it out. I’m so glad I did. I have no idea as to the politics of Azzarello teaming up with Miller, but if DC made it happen to ease fan apprehension, it worked like a charm on me.

It’s so ironic that two men who are known for grim and gritty, hard-boiled writing provided one of the most inspiring Batman stories that I’ve ever read. As much as The Dark Knight Returns created a Dark Age, I could see Master Race igniting a Heroic Age. It truly counteracted all of the negativity surrounding our society at the moment.

Maybe you’ll agree with me, maybe you won’t, but I definitely recommend you read Batman: The Dark Knight–Master Race and see for yourself.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)

In this short story, a man at a comic book shop discovers a box full of his favorite childhood superhero toys. As he rummages through them, he meets a stranger with a real super power. Although brief, this tale will inspire you, tickle you, and remind you that real heroes surround us every minute of the day. (Humor/Inspirational/Family Life)

You may remember that I did not care for the price of Locke & Key: Small World in relation to the amount of pages. (Click HEREif you’d like to revisit my angst.) Heaven and Earth, like Small World, is a collection of three very short stories involving the Locke & Key mythology. Short stories may be an overstatement. One of them is short. The other two are downright minuscule.

The first short involves the family introduced in Small World. It is an excellently executed short story that will have you tearing up before you know it.

The second short, which is far shorter, focuses upon the children in the first after they’ve reached early adulthood. Some gangsters come their way with rape and murder on their minds. Let’s just say the gangsters receive poetic justice.

The third will be over before you blink, but it will bring a smile to your face, guaranteed.

The book also contains photographs of Joe Hill and Gabriel Rodriguez exploring the island they used as a model for the book. They are candid, interesting shots with the guys joking around. There are a few alternate covers that use actual crafted keys to replicate those found in the stories, which are actually very cool.

Now that I’ve accepted the price point of these little additions to the Locke & Key story line, I’m not quite so upset. As a Locke & Key fan, I would say that both Small World and Heaven and Earth are required reading. I appreciate that they tried to fill in some space to better justify the price, but I personally would have much preferred one more story instead.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)

East of West continues to be one of the most satisfying series that I’m following. Even with the seventh volume, Jonathan Hickman engages the reader with innovative plot development and surprising character development. I never know what’s coming next with this series, and that’s about the highest compliment that I can pay.

If you’re unfamiliar with the premise, the idea is that … I can’t even. It’s far too complicated. Just pick up volume one and you’ll catch on quickly enough. Just know it’s a dazzling blend of fantasy, western, science fiction, military, alternate history, samurai, and religion.

Hickman utilizes an ever growing cast with grace and nuance — everyone gets a moment to shine in this series. Furthermore, Hickman seems to know exactly where he’s going at all times. At no point during this series have I felt as though Hickman is floundering — he never seems lost. Every issue counts with this series. Every scene serves a purpose. There is no wasted time. That’s rare for a title that has lasted as long as East of West.

Of course, as good as the writing is, East of West would not be the same without Nick Dragotta. This artist has put a particular stamp on this book; he’s given it an inimitable style. He makes everyone one and everything in this series look cool. That’s a great characteristic for a comic as eclectic as this. Though the term is overused, his art is absolutely epic in nature.

Of particular note regarding Volume 7 — several major players die (or seem to, at least). Wolf steps to the forefront. Crow continues to steal every panel in which she appears. Doma gets the girl. Oh, and Archibald Chamberlain reveals a very special talent.

When people ask me what current comic book series is a must-read, East of West is always at the top of my recommended reading list. I see no reason why that will change anytime soon as its excellence continues.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)

This series by Geoff Johns and Gary Frank came out of nowhere for me. I literally heard about it maybe a month or two before its release. If you’re unfamiliar with the concept, Doomsday Clock reportedly merges the world of Watchmen with the DC Universe proper.

Brief history lesson: Alan Moore, author of Watchmen, originally wanted to use DC’s newly acquired Charlton characters in his story. Characters like Blue Beetle, Thunderbolt, Captain Atom, the Question, and Peacemaker. DC wanted to integrate those characters into their mainstream universe, though, so Moore instead used them as templates for characters like Dr. Manhattan, Nite Owl, the Comedian, Rorschach, and Ozymandias.

As you know, DC published Watchmen, but the two worlds were apparently always separate … until now. With the Rebirth movement that softly rebooted the DC Universe a few years ago, it was heavily hinted that Dr. Manhattan had a “hand” in its reformation. Doomsday Clock will presumably address this possibility.

So, let’s talk about the actual first issue itself. It reads very much like issue #13 of Watchmen. Rorschach is the main character throughout the entire book. But wait … didn’t Rorschach die in Watchmen? Yes, and his death is definitively discussed. I will not spoil it for you, but this is Rorschach, and if the man beneath his mask is whom I think it is, Rorschach makes perfect sense.

Geoff Johns is DC’s Golden Boy. He has been for years. He has captured the tone and style of Watchmen, and for better or for worse, is doing a nice imitation of Alan Moore. Gary Frank, an amazing artist, has also captured the essence of Dave Gibbons’ art. These are still Gary Frank drawings, make no mistake, but the panel usage, the angles, the clothes … it’s all very reminiscent of Dave Gibbons.

It takes a while to realize that Doomsday Clock #1 spends all of its time picking up after issue #12 of Watchmen. It is a direct sequel, of sorts, and it’s a very satisfying one. It doesn’t feel cannibalistic to me or like a cheap knock-off. It felt very organic as a follow-up. I just didn’t expect such a blatant follow-up.

In fact, it isn’t until the final few pages that we see a DC proper character at all — Superman. But here’s the thing, there’s something involving his parents in those final pages that has me scratching my head. I haven’t kept up with Superman very well over the years, but there’s a scene involving his parents that seems out of canon. What could this mean? Is this Dr. Manhattan’s influence? Is this a different Superman? Is reality bending and changing even as the book progresses? Or, maybe, DC simply changed a part of Superman’s history for which I was unaware …

If you enjoyed Watchmen and still enjoy DC Comics, I totally recommend Doomsday Clock #1. Geoff Johns is one of the best super hero writers in the business, and it’s fascinating to see him try his hand at a style very different from his own. And Gary Frank … he’s just a joy. His art has always been clean, cool, and compelling.

When you go to the comic book shop to get your copy, you’ll have lots of covers from which to choose. Of course, I chose the ridiculously priced $5.99 cover. It’s lenticular and features Rorschach’s face. His inkblot mask changes from splotches at one angle to the Batman, Wonder Woman, and Superman symbols at another angle. That’s something I never once even considered seeing during the past thirty years. I had to have it.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)

If you’re looking for weird, Shade, the Changing Girl is for you. As part of DC Comics’ Young Animal imprint, author Cecil Castellucci is unafraid to make this book as strange a trip as possible. However, as odd as it is, at the core, it’s still a story of self-discovery and independent choice.

Fan of previous Shade iterations will recognize several familiar aspects. For example, Meta is still alive and well, Rac Shade’s persona is very much a part of the book, and the madness coat remains integral.

Things are different this time around, though, in that an alien, birdlike creature named Loma steals the madness coat in an effort to enliven her own existence. She ends up possessing a brain-damaged young woman on Earth and living this girl’s life. Unfortunately, she quickly discovers that the original owner of the body led a dark existence, one Loma doesn’t necessarily want to continue.

The artist, Marley Zarcone, lives up to Castellucci’s bonkers script with equally bonkers art. Though cartoonish in style, Zarcone delivers surrealistic panels that absolutely maintain an unstable tone. I think it’s also important to mention Zarcone’s attention to detail. One panel features an utterly mundane moment – two kids walking along a sidewalk through a residential neighborhood. Something caught my attention, though. Zarcone included grass growing between the cracks of the sidewalk. Though not substantial to the overall story, that sort of nuance really won me over.

Finally, Kelly Fitzpatrick’s colors are the perfect compliment to Castellucci and Zarcone. Though almost primary in terms of hue, Fitzpatrick makes sure to include interesting patterns in most of her panels. I don’t know enough about the medium to get specific about the kinds of patterns, but you will rarely see a solid background color in this book. That small touch adds depth to an already carefully constructed book.

Shade, the Changing Girl is not the stuff of super heroes. It’s also not full of action or violence, though there is always an atmosphere of potential danger. However, it bursts with story, mystery, and evolving characters. If you like that sort of thing with a heavy coating of weird, this book is for you.

(Did you enjoy this review? Check out Scott William Foley’s short stories HERE!)